Title: brother dad
Bro Daddy director: Prithviraj Sukumaran
The cast of Bro Daddy: Mohanlal, Prithviraj Sukumaran, Kalyani Priyadarshan and others
Note from brother dad: 3.5/5
Review by: Arjun Menon
The movie is sort of a litmus test just to see how well the older sensibilities of fun, joyful, escapist drama work for content-savvy millennials versus the uninitiated viewer who’s willing to go the route. without judgments and expectations anyway.
After the rather low-key promotional stint, the second collab between Mohanlal and Prithviraj as an actor, director respectively is finally out and to riff on a line from OUATIH’s Brad Pitt’s Cliff Booth, we get a brother who’s little more than a dad and a dad who is a little less than a brother in cinematic equivalence. The film is an easy-to-watch, stand-alone comedy-drama with nuances of a recent Ayushman Khuranna blockbuster thrown in there, which borrows central conceit from its narrative, used here more as an incidental plot device. The film builds its atmosphere with the lavishness of a high-end TV commercial and the narrative texture of a Priyadarshan comedy to tell the story of a couple of premature pregnancies and its implications on two best friends and their families. Constipation and fainting jokes aside, the writing works and most of the situational humor lands and sticks well.
John Kattadi (Mohanlal) is an awkward businessman who lives with his wife Anna (Meena) and his son (Eesho), an advertiser working in Bangalore, adding to the mix another wealthy family of Kurians led by Kurien (Lalu Alex) and a series of awkward and untimely revelations and mayhem ensue. Prithviraj is a visually driven filmmaker, as evidenced by his directorial debut “Lucifer”, clearly willing to sacrifice nuance at the altar of controlled visual aesthetics, an approach that works here, due to the way everything the film is plotted. Since the storyline offers nothing new in terms of overall thematic payoffs or subtext, some of these devices fall back on how the camera holds our attention, even though some of the operational exposition sequences and lines of disposable dialogues, pleasantly framed, well planned. , especially in the two-shot conversational scenes that dominate much of the whole narrative, if not without too many dramatic undertones.
The directing mastery rescues the film’s jarring starts at many points with a few odd jokes that fail to register. This visual design pretty much gives a sense of pacing, forcing us to dwell further into the world of cinematic cliches and practical writing choices aplenty. Mohanlal just exudes vitality and charm, a trait missing in many of his latest projects, a direct result of back-to-back appearances in outdated redesign projects, except for a few big-budget films. We finally see the man, hot on his heels, ready to take on any challenge thrown at him with the physical stamina and on-screen personality that are the hallmarks of his acting legacy. The wide eyes, the naughty interludes that take place at full speed coupled with an effortless body game, orchestrated with flamboyant candor by a fanboy turned filmmaker, who knows how to show his icon on the screen.
Prithviraj plays second fiddle in a role that requires him to let go of his stiff physique and play down the frustrations of a youngster caught up in an unwarranted mess, and the actor pulls off the part without much to tell. The tongue-in-cheek exchanges with his father play well and the actor looks convincing as a simpleton, a welcome change to his filmography recently dominated by psychopathic killers and stoic cops who offer very little, in terms of character development. Lalu Alex walks away with a whole movie built around his caged anger management issues, and the actor reminds us of the charge of throwing one-dimensional hand experiments, which lend a dynamic on-screen relationship to the actors. Support. Kalyani Priyadarshan is her usual self, a bundle of energy, smiling, dancing and scheming to get out of the peculiar turn of events.
Bro Daddy is the kind of film that works thanks to the often misleading promotional material released by the team, which promised a kind of baffling comedy with little new to offer. However, it is a superior product of the post-lockdown phenomena of covid quickies confined in space, shot on a smaller budget with less cast and never feels tainted by restrictions. The movie is sort of a litmus test just to see how well the older sensibilities of fun, joyful, escapist drama work for content-savvy millennials versus the uninitiated viewer who’s willing to go the route. without judgments and expectations, anyway. The film plays gallery and takes its narrative chances and pushes to see if the perfect blend of old-school and new-age storytelling exists, if at all.